memorymoog - rudi linhard · learning to use the system controller is the key to learning how to...

COPYRIGHT - 1982

MOOG MUSIC INC.

MANUAL NO. 997-045924-001

®

MEMORYMOOG

MODEL 345

OWNERS andSERVICE MANUAL

for

This binder contains the complete owners and technical manuals for the Memorymoog.

As updates and improvements are made in the instrument, they will be described in the

Addenda section in the back of the manual.

iii

MEMORYMOOG OWNERS MANUAL

CONTENTS

INTRODUCTION ............................................................................................................ 1

SECTION I

Setting Up ........................................................................................................................ 2

Calling Up Programs ....................................................................................................... 3

Editing A Sound .............................................................................................................. 3

Calling Up and Stepping Through Program Sequences .................................................. 4

SECTION II

Keyboard/Performance Controls ..................................................................................... 5

Left-Hand Controllers ...................................................................................................... 7

System Controller ............................................................................................................ 7

Footpedals ...................................................................................................................... 10

LFO Modulation ............................................................................................................ 10

Oscillators ...................................................................................................................... 12

Mixer ............................................................................................................................. 13

Voltage Controlled Filter ............................................................................................... 13

Voltage Controlled Amplifier ........................................................................................ 14

Contour Controls ........................................................................................................... 14

Outputs .......................................................................................................................... 15

The Back Panel .............................................................................................................. 15

Hi-Level Audio Output .................................................................................................. 15

Footpedal In ................................................................................................................... 15

External Synthesizer Out ............................................................................................... 16

Footswitch In ................................................................................................................. 16

Cassette Interface ........................................................................................................... 16

Power On/Off ................................................................................................................ 16

Powercord ...................................................................................................................... 16

SECTION III

The System Controller ................................................................................................... 17

Calling Up Programs ..................................................................................................... 17

Recording Programs ...................................................................................................... 18

Program Sequences ........................................................................................................ 20

Loading Your Own Program Sequence ......................................................................... 20

The Cassette Interface .................................................................................................... 22

Interfacing the Memorymoog to a Monophonic Synth .................................................. 22

The Keyboard ................................................................................................................ 23

Changing the Number of Voices the Keyboard Controls in Mono Mode ..................... 25

Single/Multiple Trigger ................................................................................................. 25

The Hold Function ......................................................................................................... 26

The Arpeggiator ............................................................................................................. 26

The Oscillators ............................................................................................................... 27

Waveshape ..................................................................................................................... 27

Sync 2 to I ...................................................................................................................... 28

iv

CONTENTS (Continued)

Frequency Controls ........................................................................................................ 29

Osc 3 as a Low-Frequency Oscillator ............................................................................ 30

The Noise Source ........................................................................................................... 30

The Mixer ...................................................................................................................... 30

The Voltage-Controlled Filter ....................................................................................... 31

Emphasis ........................................................................................................................ 31

KB Track ....................................................................................................................... 32

Contour Amount ............................................................................................................ 33

The Contour Generators ................................................................................................ 33

Contour Mode Controls ................................................................................................. 35

Unconditional Contours ................................................................................................. 36

Keyboard Follow ........................................................................................................... 37

Outputs .......................................................................................................................... 38

Modulation .................................................................................................................... 39

LFO Modulation ............................................................................................................ 39

Voice Modulation .......................................................................................................... 43

The Programmable Footpedals ...................................................................................... 48

MEMORYMOOG SOUND CHARTS ......................................................................... 49

1

INTRODUCTION

The Memorymoog is a voice-assignment polyphonic synthesizer with the ability to store up to

100 patches in computer memory. It has six independent voices, each containing three voltage-con-

trolled oscillators, a voltage-controlled 24dB/octave lowpass filter, two ADSR contour generators,

and extensive modulation facilities. This means that there are 18 oscillators, six filters, and 12 con-

tour generators in the unit. However, there is a single set of controls for those components, meaning

that their sound is programmed homophonically - each program governs each voice identically.

At the heart of the Memorymoog is the System Controller which gives you command over the

instrument's microprocessor. With the System Controller you can change programs, store patches,

change keyboard modes, use the cassette interface, alter arpeggiation mode, and set up program se-

quences. Learning to use the System Controller is the key to learning how to use the Memorymoog.

This manual is designed in sections, starting with a quick setup guide for those of you who are

in a hurry to quit reading and start playing. It tells you some dos and don'ts about setting up and ex-

plains what you'll need to know about the System Controller in order to get at the programs.

Section II is a reference guide designed to help answer any questions regarding specific features on

the Memorymoog. Section III is a step-by-step explanation of each set of controls for those of you

who aren't all that familiar with synthesis. It's designed to help clarify things that may seem vague in

Section II. The final section of the manual deals with service information and contains schematics

and maintenance details. A sound chart section is included that contains diagrams of all the factory

programs. Some blank panel diagrams are also provided for you to copy down your own patches.

2

SECTION I

SETTING UP

If you haven't bought a flight case for your Memorymoog, save the carton it came in in case you

have to arrange long distance transportation.

After unpacking your instrument, hook it up to a wall socket by first inserting the detachable

three-pronged cord into the back of the Memorymoog and then into the power outlet. Be sure that

the outlet is putting out the right amount of voltage.

110V = USA

220V = EUROPE

If you want to operate your Memorymoog on a voltage that differs from what's coming out of

the wall socket, i.e. 220 instead of 110 or 110 instead of 220, an authorized Moog service center can

set up your instrument to operate at the proper voltage.

Next hook any footpedals or switches you desire to use up to their respective inputs. Then con-

nect the audio output of the Memorymoog to an amplification system using either an XLR cable or

a 1/4" phone jack. A high quality amp is desirable due to the wide frequency range of the Memory-

moog. Also, note that different amps will make the programs sound different.

Turn the output volume of both the Memorymoog and the amp down to zero. Turn the Memory-

moog on and then turn the amp on. Bring the volume of the amp up to where you're used to setting

it. While holding down a note, bring the MASTER VOLUME control (at the upper right corner) up

until it's at a comfortable level.

3

SYSTEM CONTROLLER

PROGRAM

RECORDINTERLOCK

ENTER

1 2 3 A

4 5 6 B

7 8 9 C

0 D

EDIT

030 052}

SYSTEM CONTROLLER

PROGRAM

RECORDINTERLOCK

ENTER

1 2 3 A

4 5 6 B

7 8 9 C

0 D

1

6 TUNED

After you've turned the instrument on, let it warm up for about 10

minutes to allow the oscillators to stabilize. Then hit the AUTO TUNE

control in the upper left-hand corner. This will tune the Memorymoog's

18 oscillators. Notice that the SYSTEM CONTROLLER's Alphanu-

meric Display reads "6 TUNED" after the tuning cycle is complete, in-

dicating that all six voices have been tuned. If a number less than six

appears in the screen, it means that the system was unable to tune one

or more of the oscillators for some reason. Try hitting the AUTO

TUNE switch again if this occurs. If they still fail to tune, they can be

manually disabled. Refer to the Service Section of the manual for de-

tails.

CALLING UP PROGRAMS

When you first turn the Memorymoog on, program Number 1 will

appear in the PROGRAM DISPLAY window of the SYSTEM CON-

TROLLER. To change program numbers, hit any number from 0 to 99

followed by hitting the ENTER button on the Numeric Keyboard of the

SYSTEM CONTROLLER.

EDITING A SOUND

Changing or editing programs is very simple. If you want to alter

some aspect of any of the sounds supplied by the factory, all you have

to do is hit any of the switches (except those in the SYSTEM CON-

TROLLER) or hit any of the rotary controls (pots). You'll notice that

when you hit a switch the Alphanumeric Display will read "EDIT," and

when you turn a pot, six numbers appear in the display screen.

The group of three numbers on the left indicates the value of the pot as

it is in the program memory, and the group of three numbers on the

right indicates the current value of the pot.

Hitting the ENTER button will immediately restore the program

values.

SYSTEM CONTROLLER

PROGRAM

RECORDINTERLOCK

ENTER

1 2 3 A

4 5 6 B

7 8 9 C

0 D

1

4

SYSTEM CONTROLLER

PROGRAM

RECORDINTERLOCK

ENTER

1 2 3 A

4 5 6 B

7 8 9 C

0 D

17

B P1 26

CALLING UP AND STEPPING THROUGH PROGRAM SEQUENCES

To get into the PROGRAM SEQUENCE MODE hit PREFIX letter D, followed by any number

from 0 to 9, followed by ENTER. This gets you to one of the 10 PROGRAM SEQUENCES. What

will appear in the Alphanumeric Display looks like this:

The number in the PROGRAM DISPLAY is the first program of the PROGRAM SEQUENCE.

The B at the left of the screen indicates the beginning of the SEQUENCE. As you step through the

SEQUENCE, the number that appears in this spot indicates the previous program number. The cen-

ter of the display shows the PROGRAM SEQUENCE number, and the number to the right of the

screen is the program number next in line in the SEQUENCE.

To step through the PROGRAM SEQUENCE, use the A PREFIX switch to go forward and

the B PREFIX switch to go backward. You can also use PROGRAM ADVANCE and PROGRAM

BACKSTEP footswitches for these functions. (Note that the footswitches aren't supplied with the

instrument.)

Experimenting with the programs, editing them, and stepping through the PROGRAM SE-

QUENCES should keep you busy for at least a few minutes. It should also start generating questions

about other features on the instrument. Section II of the manual provides brief descriptions of all the

various functions of the Memorymoog, while Section III offers step-by-step explanations. From this

point, refer to those sections as the need arises.

5

1.0 KEYBOARD/PERFORMANCE CONTROLS.

1.1 AUTO TUNE.

Touching this switch causes the computer in the unit to tune the

18 oscillators. Tuning takes about 8 seconds. The instrument

will be "dead" for that period of time. The SYSTEM CON-

TROLLER's (3.0) Alphanumeric Display will show "TUNING"

when the switch is initially depressed, and it will show how

many voices have been tuned at the end of the tuning cycle.

1.2 TUNE.

Lets you fine tune the instrument over a range of ± 3 semitones.

This is a non-programmable control and will affect all voices

identically.

1.3 MONO.

This switch puts the instrument into the monophonic mode - it

will play only one key at a time. The number of voice cards you

control is variable from I up to 6, giving you control over from

1 to 18 oscillators. This is programmed by the SYSTEM CON-

TROLLER (3.0) and the MIXER section (7.0).

1.4 MULTIPLE TRIGGER.

When on, the keyboard triggers all contours when any new

keys are depressed. When off, new notes trigger only the as-

signed voice.

1.5 KB OUT.

KEYBOARD OUT controls the trigger and voltage outputs

from the EXTERNAL SYNTHESIZER OUTPUT section

(14.0). It's used when controlling an external synthesizer. When

on, the Memorymoog will control the external synthesizer.

1.6 GLIDE AMOUNT AND GLIDE ON/OFF.

The glide is both monophonic and polyphonic. When the in-

strument is in mono mode, a master glide circuit takes over for

the 6 separate glide circuits that work when it's in polyphonic

mode, and allows the instrument to glide in unison. Glide is

linear. Maximum glide time between the outer notes of the key-

board is about 10 seconds.

AUTO TUNE

TUNE

0

5

@ #

2 8

0 10

5

2 8

0 10PITCH BEND

AMOUNTMODULATION

AMOUNT

KB MODE HOLD ARPEGGIATOR

MONO MULTIPLETRIGGER

KB OUT

GLIDE ON/OFF

5

2 8

0 10GLIDE

SECTION II

This section of the Memorymoog manual is designed to answer questions about the function of each

control on the front and back panels of the instrument. It's a quick reference guide; more detailed

explanations will be found in the next portion of the manual.

6

1.7 KB MODE.

KEYBOARD MODE affects the priority of the

keyboard when it's in both mono and polyphonic

modes. In mono mode, the SYSTEM CONTROL-

LER (3.0) Alphanumeric Display shows either

"MONO 1, 2 or 3," depending on the mono mode

programmed. Mono 1 is last-note priority, Mono 2

is low-note priority, and Mono 3 is high-note pri-

ority. In polyphonic mode, the Alphanumeric Dis-

play will show either "POLY 1" (cyclic), "2" (cy-

clic with memory), "3" (reset to voice A), or "4"

(reset to voice A with memory). Voltages routed

to an external synth via the EXTERNAL SYN-

THESIZER OUTPUT (14.0) are affected by this

control.

1.8 HOLD.

Lets you build up chords and transpose them in

parallel motion from the keyboard. Holding a

chord and then pressing the HOLD button will

memorize the chord. Holding down the HOLD

button and then pressing notes on the keyboard

will let you build widely spaced chords. Releasing

the HOLD button memorizes the chord. The chord

can then be transposed from the last note you

played on the keyboard.

1.9 ARPEGGIATOR.

Continuously triggers note played on the key-

board. Rate is set by the LFO (5.0) speed. The

Clock can be overridden by an external trigger

source at the CLOCK IN (15.5) on the back panel.

The internal clock is reset by the keyboard so you

can always play in time. The Arpeggiator operates

in six different modes:

1) Plays back notes from bottom to top, un-

latched (notes stop when you lift off the key-

board).

2) Plays back notes from top to bottom, un-

latched.

3) Plays back notes from top to bottom, and then

from bottom to top, unlatched.

4) Plays back notes from bottom to top (latched).

The notes will continue if you lift your hands

off the keyboard.

5) Plays back notes from top to bottom, latched.

6) Plays back notes from top to bottom, and then

from bottom to top, latched.

1.10 PITCH BEND AMOUNT.

Lets you vary the maximum range of the

PITCH BENDING WHEEL (2.2) up to

± 1 octave. Note that this control is pro-

grammable.

1.11 MODULATION AMOUNT.

Sets a programmable initial modulation

amount. The MODULATION WHEEL

(2.3) adds to the amount set by this con-

trol.

AUTO TUNE

TUNE

0

5

@ #

2 8

0 10

5

2 8

0 10PITCH BEND

AMOUNTMODULATION

AMOUNT



KB OUT

GLIDE ON/OFF

5

2 8

0 10GLIDE

AUTO TUNE

TUNE

0

5

@ #

2 8

0 10

5

2 8

0 10PITCH BEND

AMOUNTMODULATION

AMOUNT



KB OUT

GLIDE ON/OFF

5

2 8

0 10GLIDE

7

2.0 LEFT-HAND CONTROLLERS.

2.1 OCTAVE SWITCHES.

These are not programmable. They raise or lower the pitch of

all oscillators by one octave.

2.2 PITCH WHEEL.

Lets you bend the pitch of what's played on the keyboard by

an amount determined by the PITCH BEND AMOUNT con-

trol (1.11).

2.3 MODULATION WHEEL.

For injecting modulation from the LFO (5.0). Adds to the ini-

tial amount of modulation programmed by the MODULA-

TION AMOUNT control (1.12).

3.0 SYSTEM CONTROLLER.

3.1 PROGRAM DISPLAY.

The large numeric LED (Light Emitting Diode) display shows

which program number has been called up. Program numbers

range from 0 to 99.

3.2 ALPHANUMERIC DISPLAY.

Through this display, the Memorymoog's computer conveys

various sorts of information about what is going on in the in-

strument. When the AUTO TUNE cycle is complete, it will

display how many voice cards have been tuned up by showing

"1, 2, 3, 4, 5 or 6 TUNED." Note that any number less than 6

indicates that the computer couldn't tune one of the voice

cards for some reason.

If you change any part of the current program in the display

by activating a control pot or switch, it will read "EDIT." If

you've changed a rotary pot's position, the left side of the dis-

play will show the value of that pot as it is in memory, while

the right side displays the current value. With this readout,

you can match old programs or return a pot to its original val-

ue.

Keyboard mode is indicated on the Alphanumeric Display

when you hit the KB MODE switch (1.7). When the RE-

CORD INTERLOCK button (3.4) is hit, the display will read

"LOCK." When a program has been recorded into memory

the display will read "RECORDED."

SYSTEM CONTROLLER

PROGRAM

RECORDINTERLOCK

ENTER

1 2 3 A

4 5 6 B

7 8 9 C

0 D

0-1

PITCH MOD

OCTAVE

8

3.6 PREFIX BUTTONS.

PREFIX A advances programs stored in the PROGRAM SEQUENCE MODE (see below). Also

advances program number by one in normal operating mode.

PREFIX B steps in reverse through the programs in the PROGRAM SEQUENCE MODE (see be-

low). Backsteps program number by one in normal operating mode.

PREFIX C1 (hit C, hit 1, hit ENTER) saves programs onto cassette tape (for more information on

this procedure see the next section of the manual).

PREFIX C2 (hit C, hit 2, hit ENTER) loads programs from cassette tape into the Memorymoog's

memory.

PREFIX C3 (hit C, hit 3, hit ENTER) verifies correct loading of programs when putting programs

from the Memorymoog onto cassette tape.

PREFIX C4 is used for defeating voices that aren't tuning up for whatever reason. See text in next

section of the manual for details.

3.3 NUMERIC KEYBOARD.

This calculator-type keyboard is used for calling up programs and other control functions. You do

this by hitting one or two numbers (from 0 to 99) and then pressing the ENTER button.

3.4 RECORD INTERLOCK.

This switch is used to temporarily lock the front panel settings in memory. By hitting LOCK, the

Alphanumeric Display (3.2) will read "LOCK," indicating that the current panel settings are tempo-

rarily locked, and turning pots or hitting switches will have no effect. This allows you to call up an-

other patch from memory (by hitting a number and pressing ENTER) without losing the locked

patch. Hitting the LOCK switch after you've called up another patch will bring up the locked patch.

This is useful for checking edited patches against the original version.

3.5 STORING A PATCH IN MEMORY.

This is done by holding the LOCK button (3.4)

down and hitting the ENTER button (see 3.3). This

loads whatever is currently shown on the front panel

into the memory position called up in the Program

Display (3.1). Note that recording a patch is impos-

sible if the Memorymoog is "write disabled," mean-

ing that a protect function against storing unwanted

information in memory is on. To turn the protect

function off and on, you must know the four-digit

security code (see Section III). Attempting to store a

patch in memory when the disable feature is on will

cause the Alphanumeric Display (3.2) to read

"DISABLED." When a patch has been successfully

written into a memory position the Alphanumeric

Display will read "RECORDED."

SYSTEM CONTROLLER

PROGRAM

RECORDINTERLOCK

ENTER

1 2 3 A

4 5 6 B

7 8 9 C

0 D

9

PREFIX C9 makes the front panel live. The Alpha-

numeric Display (3.2) will read "LIVE PNL" when

you hit C, hit 9, hit ENTER. In this state, the front

panel controls override the memory settings.

PREFIX C0 flashes all the LEDs. This is another

service function to check if all the LEDs work. Hit-

ting any switch turns the function off.

PREFIXES D0 to D9 call up PROGRAM SE-

QUENCES. These are chains of up to 20 programs,

each arranged in some predetermined order. To call

one up hit D, hit a number from 0 to 9, and hit EN-

TER. To load a PROGRAM SEQUENCE, hit D, hit

D again, hit a number from 0 to 9 and hit ENTER to

get into PROGRAM SEQUENCE LOADING

MODE. Then to enter programs, hit the program

number, hit ENTER, hit A (ADVANCE switch) or

B (BACKSTEP switch). Repeat until you've loaded

all the programs you require. The loading mode will

stop after 10 programs are loaded. You can also use

the ADVANCE and BACKSTEP footswitches (15.3

and 15.4) to step forward and backward in the PRO-

GRAM SEQUENCE.

PREFIX C5 tunes all oscillators to unison, regardless of front panel settings.

PREFIXES C6 and C7 are electronic tuning aids for service technicians.

PREFIX C8 displays current memory status, ENABLED or DISABLED in the Alphanumeric Dis-

play (3.2). The unit powers up with the memory disabled so that you can't accidentally record a

patch and you can't use the cassette interface functions of PREFIXES C1, 2, and 3. To enable the

memory store function, hit C8 followed by the four-digit security code (see Section III). Hitting the

letter C after entering C8 tells the instrument that you want to change the security code. Do this by

entering the old four-digit code (the code of instruments fresh from the factory is 0000); the display

will read "NEW CODE" or "BAD CODE" depending on if you have it right or not. If the old code

is correct, you may then enter any new four-digit code.

SYSTEM CONTROLLER

PROGRAM

RECORDINTERLOCK

ENTER

1 2 3 A

4 5 6 B

7 8 9 C

0 D

10

PITCH VOLUME

FOOTPEDALS

AMOUNT 1

AMOUNT 2

5

2 8

0 10

MOD AMT OSC 2

5

2 8

0 10

FILTER

MODULATION

¤

LFO MODULATION5

.5 25

RATE (HZ)

.1 100� � � S-H

OSC 1FREQ

OSC 2FREQ

OSC 3FREQ

PW 1 PW 2 PW 3 Filter

5

2 8

DESTINATION

0 10

5

2 8

OSC 3

0 10

VOICE MODULATION

CONTOUREDOSC 3 AMOUNT

INVERT

OSC 1FREQ

OSC 2FREQ

PW 1 PW 2 FILTER

FILTER CONTOUR

4.0 FOOTPEDALS.

4.1 AMOUNT 1, PITCH, VOLUME, FILTER.

The AMOUNT knob controls the overall range of footpedal num-

ber 1 which can be routed to control the pitch of all the oscillators,

the volume, and the filter's cutoff frequency. Functions are pro-

grammable.

4.2 AMOUNT 2, MOD AMT, OSC 2.

Determines the range of a second voltage pedal which can be

routed to control the amount of modulation and/or the frequency of

the second oscillator.

NOTE: Footpedals are not supplied with the instrument. The in-

puts on the back panel (13.0) will use any voltage input that ranges

from 0 to 5 volts. If you plug in just one pedal, the input will cross-

couple so that one footpedal will control whatever is called up on

either PEDAL 1 or PEDAL 2's programs.

5.0 LFO MODULATION.

The amount of modulation is controlled by the MODULATION

AMOUNT knob (1.12) and the MODULATION WHEEL (2.3).

5.1 RATE (HZ).

Controls the LFO frequency. Variable from

.1 Hz to 100Hz.

5.2 WAVESHAPE SELECTION.

Five switches to the right of the RATE (5.1)

knob for selecting triangle, positive-going

saw-tooth, negative-going sawtooth, square,

or sample-and-hold waveshapes for the low

frequency oscillator. Selecting one wave-

shape excludes the others; waveshapes can't

be intermixed.

5.3 DESTINATION SWITCHES.

The output of the LFO can be routed to seven

places. It can be used to modulate the fre-

quencies of oscillator 1 (OSC 1), oscillator 2

(OSC 2), oscillator 3 (OSC 3), the pulse

width of oscillator 1 (PW 1), the pulse width

of oscillator 2 (PW 2), the pulse width of os-

cillator 3 (PW 3), and/or the filter's cutoff fre-

quency.

11

MODULATION

¤

LFO MODULATION5

.5 25

RATE (HZ)

.1 100� � � S-H

OSC 1FREQ

OSC 2FREQ

OSC 3FREQ

PW 1 PW 2 PW 3 Filter

5

2 8

DESTINATION

0 10

5

2 8

OSC 3

0 10

VOICE MODULATION

CONTOUREDOSC 3 AMOUNT

INVERT

OSC 1FREQ

OSC 2FREQ

PW 1 PW 2 FILTER

FILTER CONTOUR

5.4 VOICE MODULATION.

The source of this modulation is selectable from either the filter's contour generator or the third os-

cillator. These affect each voice independently. Voice Modulation is independent of the LFO Modu-

lation (5.0).

5.5 OSC 3.

Controls the amount of modulation from oscil-

lator 3.

5.6 FILTER CONTOUR.

Controls the amount of modulation from the

filter's contour generator.

5.7 CONTOURED OSC 3 AMOUNT.

When switched on allows the filter's contour

generator to shape the amount of modulation

coming from oscillator three. This is useful for

creating modulation effects that vary with

time.

5.8 INVERT.

Inverts the filter contour as it's applied to the

CONTOURED OSC 3 AMOUNT (5.7) and

inverts the output of OSC 3 (6.0).

5.9 DESTINATION SWITCHES.

Voice Modulation can be routed to five places

using this set of switches: the frequency of os-

cillator 1 (OSC 1 FREQ), the frequency of os-

cillator 2 (OSC 2 FREQ), the pulse width of

oscillator 1 (PW 1), the pulse width of oscilla-

tor 2 (PW 2), and/or the filter's cutoff fre-

quency (FILTER).

12

6.5 FREQUENCY (oscillator 2).

A dual concentric pot which lets you tune the

second oscillator ± a minor sixth. The outer

ring is for coarse control and the inner ring is

for making finer adjustments.

6.6 FREQUENCY (oscillator 3).

Tunes the third oscillator ± a minor sixth.

However, when the KEYBOARD CONTROL

switch (6.8) is off or the LOW switch (6.7) is

on, the range of this knob is increased to 2 ½

octaves.

6.7 LOW (oscillator 3 only).

Drops the frequency of oscillator 3 by approxi-

mately 5 octaves, converting it to a low fre-

quency oscillator. With this switch on, the

range of the FREQUENCY control (6.6) is in-

creased to 2 ½ octaves.

6.8 KEYBOARD CONTROL (osc 3 only).

For turning on and off the keyboard control

voltage routed to oscillator 3. With the key-

board control voltage off, the range of the

FREQUENCY control (6.6) is increased to

2 ½ octaves.

6.0 OSCILLATORS.

6.1 OCTAVE (oscillators 1, 2, 3).

16', 8', 4', and 2' octave settings for each os-

cillator are available via these switches.

Note that the octave switches in the LEFT-

HAND CONTROLLER section (2.0) will

raise or lower the pitch of the oscillators

one octave.

6.2 SYNC 2 TO 1 (oscillator 1 only).

Locks the fundamental frequency of oscil-

lator 2 to that of oscillator 1. It is hard

sync.

6.3 PULSE WIDTH (oscillators 1, 2, 3).

Varies the width of the rectangular wave-

shape from 0 to 100%. At the outer ex-

tremes of this range the pulse width will be

so narrow that you won't hear any signal.

6.4 WAVESHAPES (oscillators 1, 2, 3).

These three switches let you call up pulse,

sawtooth, and/or triangle waveshapes.

Waveshapes can be combined.

OSCILLATORS

0

-5 +5

50

0 100

16' 8' 4' 2'

PULSE WIDTH (%)

1� � ¤

WAVESHAPE

SYNC2 TO 1

OCTAVE

50

0 100

16' 8' 4' 2'

PULSE WIDTH (%)

2� � ¤

WAVESHAPEOCTAVE

FREQUENCY

0

-5 +5

50

0 100

16' 8' 4' 2'

PULSE WIDTH (%)

3� � ¤

WAVESHAPEOCTAVE

FREQUENCY

LOW KEYBOARDCONTROL

13

MIXER

LEVEL

5

2 8

0 10

LEVEL

5

2 8

0 10

LEVEL

5

2 8

0 10

NOISE

5

2 8

0 10

VOLTAGE CONTROLLED FILTER

1/3 2/3

KB TRACK

VOLTAGE CONTROLLED AMPLIFIER

0

-5 5

CUTOFF

-3 3

5

0 10

2 8

CONTOUR AMOUNT

1

1 MSEC 10 SEC

ATTACK

700

400

1.5

3

100

10 9

6

2

2 MSEC 20 SEC

DECAY

1.4

800

3

6

200

20 18

12

RETURNTO ZERO

UNCONDITIONALCONTOUR

KEYBOARDFOLLOW

RELEASE

5

0 10

2 8

EMPHASIS

5

0 10

2 8

SUSTAIN

2

2 MSEC 20 SEC

1.4

800

3

6

200

20 18

12

RELEASE

1

1 MSEC 10 SEC

ATTACK

700

400

1.5

3

100

10 9

6

2

2 MSEC 20 SEC

DECAY

1.4

800

3

6

200

20 18

12

5

0 10

2 8

SUSTAIN

2

2 MSEC 20 SEC

1.4

800

3

6

200

20 18

12

RELEASE

7.0 MIXER.

Four level controls for adjusting the relative volumes of the three os-

cillators and a pink noise source as they feed into the filter. Note that

beyond a setting of 4 or 5, these controls cause the signals to clip (dis-

tort). This gives a little more punch to a sound where desired. It also

turns the triangle waves into sine waves. At a setting of 10 you will

hear some intermodulation distortion.

8.0 VOLTAGE CONTROLLED FILTER.

The Voltage Controlled Filter is the patented Moog 24db/octave low-

pass filter.

8.1 KB TRACK.

Varies the amount of voltage from the keyboard that controls the filter

cutoff frequency. You can select either } of the keyboard voltage, { of

the keyboard voltage, all of the keyboard voltage (both switches on),

or no keyboard voltage (both switches off).

8.2 CUTOFF.

Controls the cutoff frequency of the filter.

8.3 EMPHASIS.

Controls the degree of filter resonance. Oscillation begins at a little

past a setting of 7.

8.4 CONTOUR AMOUNT.

Controls the amount of voltage from the

FILTER CONTOUR GENERATOR (8.5)

that is applied to the cutoff frequency.

8.5 FILTER CONTOUR GENERATOR.

8.6 ATTACK.

Varies the attack time from 1 millisecond to

10 seconds.

8.7 DECAY.

Variable from 2 milliseconds to 20 seconds.

8.8 SUSTAIN.

Varies the sustain level of the filter contour.

8.9 RELEASE.

Adjustable from 2 milliseconds to 20 sec-

onds. The RELEASE SWITCH (10.4) and/

or the RELEASE FOOTSWITCH (15.1)

turn the release portion of the contour on

and off.

14


1/3 2/3

KB TRACK


0

-5 5

CUTOFF

-3 3

5

0 10

2 8

CONTOUR AMOUNT

1

1 MSEC 10 SEC

ATTACK

700

400

1.5

3

100

10 9

6

2

2 MSEC 20 SEC

DECAY

1.4

800

3

6

200

20 18

12

RETURNTO ZERO


KEYBOARDFOLLOW

RELEASE

5

0 10

2 8

EMPHASIS

5

0 10

2 8

SUSTAIN

2

2 MSEC 20 SEC

1.4

800

3

6

200

20 18

12

RELEASE

1

1 MSEC 10 SEC

ATTACK

700

400

1.5

3

100

10 9

6

2

2 MSEC 20 SEC

DECAY

1.4

800

3

6

200

20 18

12

5

0 10

2 8

SUSTAIN

2

2 MSEC 20 SEC

1.4

800

3

6

200

20 18

12

RELEASE


1/3 2/3

KB TRACK


0

-5 5

CUTOFF

-3 3

5

0 10

2 8

CONTOUR AMOUNT

1

1 MSEC 10 SEC

ATTACK

700

400

1.5

3

100

10 9

6

2

2 MSEC 20 SEC

DECAY

1.4

800

3

6

200

20 18

12

RETURNTO ZERO


KEYBOARDFOLLOW

RELEASE

5

0 10

2 8

EMPHASIS

5

0 10

2 8

SUSTAIN

2

2 MSEC 20 SEC

1.4

800

3

6

200

20 18

12

RELEASE

1

1 MSEC 10 SEC

ATTACK

700

400

1.5

3

100

10 9

6

2

2 MSEC 20 SEC

DECAY

1.4

800

3

6

200

20 18

12

5

0 10

2 8

SUSTAIN

2

2 MSEC 20 SEC

1.4

800

3

6

200

20 18

12

RELEASE

9.0 VOLTAGE CONTROLLED AMPLIFIER.

An ADSR contour generator controls the VCA.

9.1 ATTACK.

Same as section 8.6.

9.2 DECAY.


9.3 SUSTAIN.


9.4 RELEASE.


10.0 CONTOUR CONTROLS.

This set of four switches affects both Contour

Generators.

10.1 RETURN TO ZERO.

Normally, the Contour Generators, if retrig-

gered during the attack segment, start from the

existing voltage level. With this switch on, the

attack segment will always reset to zero volts.

10.2 UNCONDITIONAL CONTOUR.

With this switch off, the Contour Generators

will go into their release states (if the RE-

LEASE SWITCH [10.4] is on or the RELEASE

FOOT SWITCH [15.1] is depressed) only when

you let up on a key. With the switch on, when

you let up on a note, the Contour Generators

will go through their entire attack phase and

then jump immediately into the release state.

10.3 KEYBOARD FOLLOW.

When this switch is on, the voltage from the key

board varies the attack, decay and release times

of the Contour Generators. The lower you play,

the longer the times; the higher you play, the

shorter the times.

10.4 RELEASE.

Turns the release segment of the Contour Gen-

erators on and off. This control interacts with

the RELEASE FOOTSWITCH (15.1).

15

OUTPUTS

MASTERVOLUME

5

2 8

0 10

VOLUME

5

2 8

0 10

5

2 8

0 10

PROGRAMMABLE

VOLUME

HEADPHONE

12.0 HI-LEVEL AUDIO OUTPUT.

12.1 BALANCED.

A transformer-balanced 600 ohm output.

12.2 UNBALANCED.

An unbalanced low-impedance output.

13.0 FOOTPEDAL IN.

13.1

Input for a 5-volt voltage pedal controller

whose function is programmed on the front

panel (see 4.0).

13.2 Input for a 5-volt voltage pedal controller

whose function is preprogrammed on the front

panel (see 4.0).

Note that inputs 1 and 2 (13.1 and 13.2) are

crosscoupled; if you have only one pedal in,

that pedal's voltage will be applied to both

front panel pedal sections.

11.0 OUTPUTS.

11.1 MASTER VOLUME.

A non-programmable volume control.

11.2 PROGRAMMABLE VOLUME.

Used for matching volume levels between programs.

11.3 HEADPHONE VOLUME.

A non-programmable volume control that's independent of

the MASTER VOLUME control (11.1 ). It adjusts the level

of the stereo headphone output.

THE BACK PANEL

BACK PANEL

16

14.0 EXTERNAL SYNTHESIZER OUT.

14.1 CONTROL VOLT 1 VOLT/OCT.

A 1 volt-per-octave (± 10%) output for con-

trolling an external synthesizer or synthesizer

accessory. Range and scale trimmers for tuning

the output to an external synthesizer are acces-

sible through the rear panel.

14.2 V-GATE 0 - 15V.

A voltage gate output with a level of from 0 to

15 volts for interfacing with instruments which

accept voltage gates.

14.3 S-TRIG 15V TO 0.

A switch trigger output with a range of 15

volts to 0 volts. For interfacing to instruments

with switch trigger inputs.

15.0 FOOTSWITCH IN.

15.1 RELEASE.

Accepts a switch input for turning the release

portion of the Contour Generators on and off

(see 10.4). With the RELEASE switch on the

front panel on, depressing the RELEASE

FOOTSWITCH will turn the RELEASE

switch on the panel off. At that point, the RE-

LEASE FOOTSWITCH will act as a SUS-

TAIN PEDAL would on a piano: pressed

down, the RELEASE function of the CON-

TOUR GENERATORS (8.5 and 9.0) will be

on; let up, the RELEASE function of the

CONTOUR GENERATORS will be off.

15.2 HOLD.

A switch input for turning the HOLD function

(1.8) on and off.

15.3 PROGRAM ADVANCE.

A switch input for advancing through the

PROGRAM SEQUENCES (3.7).

15.4 PROGRAM BACKSTEP.

A switch for stepping through the PROGRAM

SEQUENCES (3.7) in reverse order.

15.5 GLIDE.

Turns the front panel GLIDE switch on or off.

15.6 CLOCK IN.

Replaces the internal clock from the LFO (5.0)

with an external clock.

16.0 CASSETTE INTERFACE.

Connections are made from the three jacks to a

cassette recorder for transfer of memory con-

tents to and from tape.

17.0 POWER ON/OFF.

Turns the Memorymoog on and off.

18.0 POWERCORD.

A detachable cord is supplied with your instru-

ment. Be careful to grasp it by the plug when

taking it out of an electrical outlet.

BACK PANEL

17

SYSTEM CONTROLLER

PROGRAM

RECORDINTERLOCK

ENTER

1 2 3 A

4 5 6 B

7 8 9 C

0 D

PROGRAMDISPLAY

SYSTEM CONTROLLER

PROGRAM

RECORDINTERLOCK

ENTER

1 2 3 A

4 5 6 B

7 8 9 C

0 D

NUMERICKEYBOARD

ENTERSWITCH

SYSTEM CONTROLLER

PROGRAM

RECORDINTERLOCK

ENTER

1 2 3 A

4 5 6 B

7 8 9 C

0 D

ALPHA-NUMERICDISPLAY

SECTION III

THE SYSTEM CONTROLLER

The SYSTEM CONTROLLER is the heart of the

Memorymoog. Of all the front panel controls, you'll find

yourself using the SYSTEM CONTROLLER most fre-

quently. It is used to store and recall patches, set up key-

board modes, set up arpeggiation modes, control program

sequencing, access the cassette interface, and many other

present and future functions.

When you first power up the Memorymoog, you'll no-

tice that the number 1 appears in the large LED display la-

beled PROGRAM. This tells you that program #1 is called

up and ready to play. This window, the PROGRAM DIS-

PLAY (3.1), will always show which program is currently

called up and ready to play, or which program is about to

be entered.

As discussed in the quick setup guide, let your instru-

ment warm up for about 10 minutes, press the AUTO

TUNE switch (1.1), and let the instrument tune itself be-

fore playing. After the AUTO TUNE routine is complete,

program #1 will appear again in the PROGRAM DIS-

PLAY and the appropriate LEDs for program #1 will light

up. (Should you need to tune the instrument at any time

after it's been warmed up, the computer will always re-

member the state of the panel controls just prior to the tun-

ing routine and return to it.) The Alphanumeric Display

(3.2) will read "6 TUNED" indicating that all six voice

cards have been tuned successfully. If any number less

than six appears you should hit AUTO TUNE again. If all

six voice cards still fail to tune, try turning the instrument

off for a moment. Then turn it on again and hit the AUTO

TUNE switch. If all this fails, contact an authorized serv-

ice center or call our factory service center for assistance.

CALLING UP PROGRAMS

To call up a program, hit any desired number from 0

to 99 on the Numeric Keyboard (3.3) and follow it by

pressing the ENTER switch.

The ENTER switch must be pressed in order for a new

program to replace the one that is currently called up.

The new number appears on the display immediately,

but the new program is not active until the ENTER

switch is pressed.

18

SYSTEM CONTROLLER

PROGRAM

RECORDINTERLOCK

ENTER

1 2 3 A

4 5 6 B

7 8 9 C

0 D

SYSTEM CONTROLLER

PROGRAM

RECORDINTERLOCK

ENTER

1 2 3 A

4 5 6 B

7 8 9 C

0 D

LIVE PNL

RECORDING PROGRAMSIn order to record your own patches into the program memory you have to ENABLE the record

function. To do this, press PREFIX BUTTON C (3.6), hit 8, and hit ENTER. This will display the

status of the instrument. The Alphanumeric Display will read "DISABLED" or "ENABLED."

Now you must enter a four-digit security code (when each instrument is shipped, the code is 0000).

If you enter the wrong code, the display reads "BAD CODE" and returns to normal operation. If you

enter the correct code, the instrument shows the updated status (ENABLED or DISABLED) and re-

turns to normal operation. To change the code, hit C, hit 8, hit ENTER, then hit C again; the instru-

ment assumes you want to change the security code and displays "OLD CODE." You enter the ex-

isting code; if the code is incorrect the display reads "BAD CODE," and operation returns to nor-

mal. If the code is correct, the display reads "NEW CODE," and you enter any new four-digit code

number, followed by ENTER. A convenient code number is the last four digits of your telephone

number.

MEMORY ENABLE/DISABLE PROCEDURE

PRESS C

PRESS 8

PRESS ENTER = ENABLED OR DISABLED

MEMORY RECORD FUNCTION

Once you've ENABLED the memory, you're ready to store patches. The memory position you

decide on should be one that has a patch you don't want, since once you record another patch over it,

it's gone (unless, of course, you've stored it on cassette tape using the procedure explained a little

later).

There are two ways of arriving at a patch you like: setting one up from scratch (starting from a

"live panel"), or editing (changing) a prerecorded patch. To set up a live panel – one where all the

controls are active, overriding the memory values – hit PREFIX C, number 9, and ENTER.

LIVE FRONT PANEL

HIT C

HIT 9

HIT ENTER = LIVE PANEL

19

SYSTEM CONTROLLER

PROGRAM

RECORDINTERLOCK

ENTER

1 2 3 A

4 5 6 B

7 8 9 C

0 D

To edit or change any preset program, change any of the parameters by moving a pot or pushing

a switch. When you hit a switch, you'll notice the Alphanumeric Display will read "EDIT" to tell

you you've changed a parameter of the program. If you turn a pot, you'll see six numbers appear in

the Alphanumeric Display. The three on the left of the screen tell you what the control's value is in

memory, and the three on the right tell you the current value of the control. Note that edit changes

aren't permanent changes in the memory. Hitting the ENTER switch at any time while you're editing

a sound will immediately restore the patch to its original preprogrammed state. To hear this effect,

call up a familiar patch. Make a few edits - changing the CUTOFF of the FILTER, or change the oc-

tave settings of the oscillators. Now hit the ENTER switch again. Everything will jump back to the

way it was before you edited the sound.

RECORDING A PATCH

HIT RECORD INTERLOCK AND HOLD IT

HIT ENTER = RECORD A PATCH (EITHER

FROM A "LIVE PANEL" OR

FROM HAVING EDITED

A PREPROGRAMMED PATCH)

Suppose you want to record a new patch. What do you do? There are two ways to go about it:

1) Find the place you want to put it; punch that program number. Hit C, hit 9, hit ENTER to put the

panel into a live state. Set up the patch the way you want it, then hit the RECORD INTERLOCK

switch. This locks all the front panel controls so that moving them will have no effect at all on the

patch as long as the RECORD INTERLOCK switch doesn't get hit again, cancelling the LOCK.

Then while holding down the RECORD INTERLOCK switch, press the ENTER button. The Al-

phanumeric Display will read either "RECORDED" to indicate a successful recording, or

"DISABLED" to indicate that the record function of the memory is off and must be turned on to re-

cord a patch in memory.

2) The other method of recording a patch involves recording edited versions of programs using the

RECORD INTERLOCK switch to freeze them in temporary memory, so they can be moved to other

locations or checked against the original patch. Edit a patch, hit the RECORD INTERLOCK switch

to put the edited patch in temporary memory and freeze the front panel controls. Now if you hit the

ENTER switch (don't hold the RECORD INTERLOCK button down!) you'll reinstate the original

preset program. Hitting the RECORD INTERLOCK switch will bring back the edited version of the

patch. This lets you do A/B comparisons between patches.

Note that you aren't limited to A/B comparisons between the edited patch and its original form.

All you have to do is hit the RECORD INTERLOCK switch, putting the edited or live panel patch

into temporary memory, and call up the program you want to check it against (hit a number fol-

lowed by ENTER). To get the LOCKED setting back, hit the RECORD INTERLOCK switch again.

If you decide you want to record the LOCKED setting into a memory position, hold the RECORD

INTERLOCK switch down and hit the ENTER button. Be sure the PROGRAM DISPLAY is show-

ing the desired program number; otherwise you'll erase a patch you may have wanted to save.

20

PROGRAM SEQUENCES

The D PREFIX switch is used to call up and record PROGRAM SEQUENCES. There are 10

PROGRAM SEQUENCES in the Memorymoog. These are chains of up to 20 programs which the

user determines.

To call up a PROGRAM SEQUENCE hit D, the PROGRAM SEQUENCE number (any num-

ber from 0 to 9), and hit ENTER. What you will see in the PROGRAM DISPLAY is the first pro-

gram in the PROGRAM SEQUENCE. The Alphanumeric Display will look like this:

PROGRAM SEQUENCE DISPLAY

There are two possible methods for stepping forward or backward through the programs in a PRO-

GRAM SEQUENCE. You can use the A and B PREFIX switches on the Numeric Keyboard (see di-

agram above) or you can use ADVANCE and BACKSTEP footswitches (not supplied with the in-

strument, but available as Moog accessory number 1122).

The A PREFIX switch advances (steps forward into) the PROGRAM SEQUENCE, while the B

PREFIX switch backsteps through the PROGRAM SEQUENCE.

LOADING YOUR OWN PROGRAM SEQUENCE

This process is fairly simple, but may require some practice until you get the hang of it. The

procedure is as follows:

Hit D to get yourself into the PROGRAM SEQUENCE MODE. Then hit D again, putting you into

LOAD MODE (an L will appear in the Alphanumeric Display). Hit a number from 0 to 9 for the

number of the PROGRAM SEQUENCE you wish to load, and then hit ENTER.

To load in the first program in the PROGRAM SEQUENCE, hit the number of the program, hit

ENTER, and hit A. This will load the first program into the PROGRAM SEQUENCE. Repeat until

you've either filled up the PROGRAM SEQUENCE (20 programs maximum for each SE-

QUENCE), or until you've got all the programs you desire to the maximum number of 20. (Putting

less than 20 programs in a chain is possible.)

21

HIT D

HIT D

HIT A NUMBER FROM 0 TO 9

HIT ENTER = LOADING MODE

HIT #

HIT ENTER

HIT A

HIT ENTER = LOAD A PROGRAM FORWARD INTO PROGRAM SEQUENCE

HIT #

HIT ENTER

HIT B

HIT ENTER = LOAD A PROGRAM BACKWARD INTO PROGRAM SEQUENCE

Should you decide that you want to replace a program in the SEQUENCE, you can step through

the chain to the program you want to replace and repeat the steps above for recording a program into

the SEQUENCE. This will update the PROGRAM SEQUENCE.

Using the B PREFIX switch in place of the A PREFIX switch in the above loading procedure

will cause the programs to be loaded into the previous position rather than in the position shown,

Here's a hypothetical PROGRAM SEQUENCE and the procedure for loading it for you to prac-

tice on:

The SEQUENCE we want runs programs 10, 20, 30, 40, 50, 60, 70. To load it proceed thus:

1) Hit D

2) Hit D again

3) Hit 0 = load PROGRAM SEQUENCE 0.

4) Hit 10

5) Hit ENTER

6) Hit A = load first program into first position of SEQUENCE 0.

7) Hit 20

8) Hit ENTER

9) Hit A = load second program into second position of SEQUENCE 0.

CONTINUE until you've loaded all the programs into the SEQUENCE. To stop loading PRO-

GRAM SEQUENCE 0, hit D again. This will get you out of PROGRAM SEQUENCE MODE. Hit-

ting D, 0, ENTER will recall PROGRAM SEQUENCE 0. Step through it to see if it's correct. The

SEQUENCE should run 10, 20, 30, 40, 50, 60, 70. If it doesn't, try to correct your mistake. Correct-

ing mistakes is a great way to familiarize yourself with the operation of the PROGRAM SE-

QUENCE MODE.

Note that if you should need to run more than 20 programs in a PROGRAM SEQUENCE, the

PROGRAM SEQUENCE automatically jumps to the next PROGRAM SEQUENCE number when

it has reached the end of a SEQUENCE. Step through to the end of PROGRAM SEQUENCE 0 (an

E will appear in the right side of the Alphanumeric Display) and keep going. It will run to PRO-

GRAM SEQUENCE 1. If you step through PROGRAM SEQUENCE 0 backwards (using either the

B PREFIX switch or the BACKSTEP footswitch) it will jump to PROGRAM SEQUENCE 9.

22

(SCALE)(RANGE)

SIGNAL IN (MIC OR AUX).140" MINI PLUG (3.5mm)

SIGNAL OUT (EAR PHONE).140" MINI PLUG (3.5mm)

MOTOR START/STOP.097" MICRO MINI PLUG (2.5mm)

(TO TAPE) CASSETTE1/4" PHONE PLUG(6.35mm)

(FROM TAPE) CASSETTE1/4" PHONE PLUG(6.35mm)

(REMOTE) CASSETTE1/4" PHONE PLUG(6.35mm)

THE CASSETTE INTERFACE

This is used to store information from the memory onto cassette tapes, expanding your library

of patches beyond the 100 that the Memorymoog will hold. To access the interface, it's necessary to

connect the cassette properly.

Connect the Memorymoog TO TAPE output to the MIC level input of the recorder. (Use only one

channel of a stereo recorder.) Connect the Memorymoog FROM TAPE input to the EARPHONE

(or line level) output of the recorder and, where applicable, connect the Memorymoog REMOTE

jack to the REMOTE or START/STOP input of the recorder. If your recorder is not so equipped,

start/ stop must be done manually.

If you don't have a small cassette tape recorder with automatic level control, there is a leader

signal at the front of the cassette save function which you can use to set the level of your recorder. It

should be set at around ± 3 on the VU meter to ensure sufficient level.

To save programs onto tape, hit PREFIX C, press 1, press ENTER. This starts the cassette save

operation, which takes about 30 seconds. When saving to tape, your instrument is inoperative.

When it's complete, the Alphanumeric Display will read "SAVED."

To verify that saving took place correctly, rewind the tape and press PREFIX C, hit 3, hit EN-

TER, and start the tape. When the tape has been completed, the Alphanumeric Display will read

"VERIFIED" if the tape has been made properly. It will read "ERROR" if there's a problem. If the

playback volume is too low, the Display will read "VOL LOW."

To load programs from a cassette tape, press PREFIX C, hit 2, hit ENTER. When the tape has

been completed, the Alphanumeric Display will read "LOADED" if there wasn't any problem. It

will read "VOL LOW" if the playback volume is too low, and it will read "ERROR" if there's some

other problem. Generally speaking, you should always verify a tape before you try to load it.

INTERFACING THE MEMORYMOOG TO A MONOPHONIC SYNTH

It's possible to control an external monophonic synthesizer using the INTERFACE jacks (14.0) pro-

vided on the Memorymoog's back panel.

BACK PANEL

23

AUTO TUNE

TUNE

0

5

@ #

2 8

0 10

5

2 8

0 10PITCH BEND

AMOUNTMODULATION

AMOUNT



KB OUT

GLIDE ON/OFF

5

2 8

0 10GLIDE

SYSTEM CONTROLLER

PROGRAM

RECORDINTERLOCK

ENTER

1 2 3 A

4 5 6 B

7 8 9 C

0 D

POLY

The CONTROL VOLT 1 VOLT/OCT jack is used to supply control voltage out from the Mem-

orymoog to the external synthesizer. The other two jacks – V-GATE 0 TO 15V and S-TRIG 15V

TO 0 – are used to supply either voltage or switch triggers from the Memorymoog to the external

synthesizer, depending on which type of trigger signal it requires. Consult the owner's manual for

the synthesizer you intend to interface to for details of the trigger signal required.

Once you've connected the necessary patch cords between instruments, it may be necessary to

retune the Memorymoog output to the external synthesizer, especially if that synthesizer has a key-

board that ends in notes other than C. To do this, use the RANGE (R) and SCALE (S) trimpots on

the back panel of the Memorymoog. The RANGE control lets you tune the Memorymoog output

± an octave. Hit the lowest C on the Memorymoog, and tune it to the lowest C on the instrument

you're interfacing to. The SCALE trimpot is used to tune the outer range of the Memorymoog out-

put to the outer range of the instrument you're interfaced with. Hit the highest note on the Memory-

moog and adjust the SCALE trimmer until it's in tune with the external synth. You may have to go

back and forth between the RANGE and SCALE controls a bit before the instruments are exactly in

tune with each other.

The KB OUT switch (1.5) on the front panel is used to disconnect the external synthesizer from

the Memorymoog without unplugging all the patch cords. Its function is programmable.

THE KEYBOARD

The keyboard is the source of control voltages that are applied to the oscillators, telling them

what pitches to produce. The lower the note you play, the lower the corresponding voltage the key-

board will put out. It functions in two basic modes: POLYPHONIC and MONOPHONIC.

In its four POLYPHONIC MODES you can play up to six notes simultaneously. The keyboard

puts out a separate control voltage for each voice card. There are four different ways that the com-

puter assigns voices to the notes you play when you're in a POLYPHONIC mode. The effects of the

different keyboard modes will not be apparent unless glide and/or long release times are turned on.

To hear the various keyboard modes, use a fairly straight preset, a brassy one or something similar.

Turn the GLIDE (1.6) on and set it at 5 or more. To set the mode of the keyboard, hit the

KB MODE switch (1.7). The Alphanumeric Display (3.2) will then show "POLYPHONIC 1, 2, 3,

or 4" depending on the keyboard mode programmed. Hit 1 on the Numeric Keyboard (3.3) followed

by ENTER. This puts you in KEYBOARD MODE 1, which is called CYCLIC indicating that the

voices will jump around to new notes every time one is played. Hitting a widely spread chord on the

keyboard more than once, letting the glide finish its cycle, will let you hear that no matter how many

times you strike the chord, each voice has glide on it.

POLYPHONIC KEYBOARD MODES

HIT KB MODE

HIT 1

HIT ENTER = KB MODE # 1

HIT KB MODE

HIT 2


HIT KB MODE

HIT 3


HIT KB MODE

HIT 4


24

AUTO TUNE

TUNE

0

5

@ #

2 8

0 10

5

2 8

0 10PITCH BEND

AMOUNTMODULATION

AMOUNT



KB OUT

GLIDE ON/OFF

5

2 8

0 10GLIDE

SYSTEM CONTROLLER

PROGRAM

RECORDINTERLOCK

ENTER

1 2 3 A

4 5 6 B

7 8 9 C

0 D

MONO

Next, hit KB MODE, hit 2, hit ENTER. That will put the keyboard in POLYPHONIC MODE 2,

CYCLIC WITH MEMORY. Now when you repeat the same chord over and over again, you should

only hear glide the first time you strike the chord. The second and each consecutive time you strike

that chord, the computer memory remembers that the voices have been assigned to the various

pitches you are playing. It won't reassign them until you hit a new note or set of notes.

Hit KB MODE, hit 3, hit ENTER. This gets you to KEYBOARD MODE 3, RESET TO

VOICE A. Every time you let up on all the notes on the keyboard, the next note you hit will be as-

signed to VOICE A. Playing a single line will produce a sound similar to playing the same line on a

monophonic synthesizer.

Hit KB MODE, hit 4, hit ENTER to hear KEYBOARD MODE 4, RESET TO VOICE A WITH

MEMORY. The effect is just like that of CYCLIC WITH MEMORY in that when you strike the

chord repeatedly, you only hear glide the first time you hit the chord. From then on the instrument

remembers that the voices have been assigned specific notes and it won't reassign them until you

strike new notes. This mode differs from CYCLIC WITH MEMORY in that the first note played

after no notes have been held down is assigned to VOICE A.

In MONOPHONIC MODE, the keyboard will only let you play one note at a time. There are

three different MONOPHONIC PRIORITY modes that determine what note sounds should you play

more than one note at a time when in MONO MODE. To get to the MONOPHONIC KEYBOARD

MODES, turn the MONO switch (1.3) on. Then hit the KB MODE switch (1.7), and press either 1,

2, or 3, followed by ENTER. KEYBOARD MODE I is last note priority – the last note played will

sound over all others no matter how many notes you hold down. KEYBOARD MODE 2 is low-note

priority – the lowest note played gets priority. KEYBOARD MODE 3 is high-note priority – the

highest note will sound if more than one note is played. All three modes have interesting uses, espe-

cially when used in conjunction with the SINGLE/MULTIPLE TRIGGER switch (1.4) and/or when

the Memorymoog is interfaced with a monophonic synthesizer.

MONOPHONIC KEYBOARD MODES

HIT KB MODE

HIT 1


HIT KB MODE

HIT 2


HIT KB MODE

HIT 3


25

CHANGING THE NUMBER OF VOICES THE KEYBOARD CONTROLS IN MONO MODE

When you put the keyboard into its MONOPHONIC MODE by pressing the MONO switch

(1.3), the keyboard will play only one note at a time. It will control from I to 18 oscillators, depend-

ing on how many voice cards are being controlled. You can program the number of voice cards con-

trolled by turning the MONO switch (1.3) on, hitting the KB MODE switch (1.7), pressing ENTER,

and then hitting a number from I to 6 on the Numeric Keyboard (3.3), and pressing ENTER again. If

you hit a 1, you will control three oscillators as a Minimoog does. If you want to hear the sound of

only one oscillator, turn the volume controls in the MIXER (7.0) of two of the oscillators to 0. The

more oscillators you control, the thicker and fatter the sound will be. Controlling all 18 oscillators in

unison creates a very massive sound.

SINGLE/MULTIPLE TRIGGER

When the SINGLE/MULTIPLE TRIGGER switch (1.4) is off, the keyboard waits until all keys

are released before a new key depression will put out a new trigger signal, which is used to start the

CONTOUR GENERATORS (8.5 and 9.0). This state is called SINGLE TRIGGERING, and it's

useful for playing legato passages in MONO MODE.

You can emphasize phrases in SINGLE TRIGGER MODE by deliberately attacking only the

first note in a phrase, playing the rest of it with a legato touch. This produces only one trigger for the

entire phrase, emphasizing the first note, letting the others be played with what remains of the single

CONTOUR. If you've never played a single-trigger monophonic synthesizer before, it may take

some practice to get used to the technique. With this patch try playing a familiar run or scale, pro-

ducing new triggers only at the first note. Do it slowly to begin with and increase the speed as you

start to master the technique. Also, try the different KEYBOARD MODES while you practice and

notice the differences in priority between high-note, low-note, and last-note modes.

SINGLE/MULTIPLE TRIGGER

26

AUTO TUNE

TUNE

0

5

@ #

2 8

0 10

5

2 8

0 10PITCH BEND

AMOUNTMODULATION

AMOUNT



KB OUT

GLIDE ON/OFF

5

2 8

0 10GLIDE

SYSTEM CONTROLLER

PROGRAM

RECORDINTERLOCK

ENTER

1 2 3 A

4 5 6 B

7 8 9 C

0 D

MODE

With the SINGLE/MULTIPLE TRIGGER switch (1.4) on, the keyboard will put out a new trig-

ger for every note played, regardless of whether or not any other note is still being held down. You'll

notice that if you try to play legato, the keyboard will still put out new triggers, foiling your every

attempt to avoid them. MULTIPLE TRIGGERING is great for playing those pyrotechnic runs where

you want every note to stand out. It covers up for any note you hit sloppily, whereas with SINGLE

TRIGGERING, you have to be sure to hit every note distinctly in order for it to be articulated

clearly.

THE HOLD FUNCTIONThe HOLD switch (1.8) is used for building chords that you can subsequently control in parallel

motion from the keyboard. Play a chord. Continue holding it while you press the HOLD button. Let

up on the chord and then play a single note. You should hear the chord and be able to transpose it up

and down by playing the keyboard. If you want to build chords that are too wide to simultaneously

play while pressing the HOLD switch, push the HOLD switch, continue holding it and play the

chord you want, one note at a time. When the HOLD switch is released, the chord pattern is stored.

Since the HOLD function is not programmable, you can switch to other programs while retaining

the "held" chord.

THE ARPEGGIATORTurning the ARPEGGIATOR switch (1.9) on puts the keyboard immediately into a MONO-

PHONIC ARPEGGIATION MODE. However, if the instrument is in MONOPHONIC MODE al-

ready, no arpeggiation will occur. You'll hear the highest, lowest, or last note you've hit retrigger de-

pending on the MONO KEYBOARD MODE you're in. The rate of the arpeggiation is set by the

LFO RATE knob (5.0).

When you first turn on the arpeggiator, the Alphanumeric Display will read "MODE (1-9)" (the

arpeggiator modes are listed below). To change the ARPEGGIATION MODES, hit the desired

MODE NUMBER followed by ENTER immediately after you turn on the ARPEGGIATOR.

ARPEGGIATION MODES

TURN ARPEGGIATOR ON

HIT 1

HIT ENTER = MODE 1, UP

HIT 2

HIT ENTER = MODE 2, DOWN

HIT 3

HIT ENTER = MODE 3, UP-DOWN

HIT 4

HIT ENTER = MODE 4, UP (LATCHED)

HIT 5

HIT ENTER = MODE 5, DOWN (LATCHED)

HIT 6

HIT ENTER = MODE 6, UP-DOWN (LATCHED)

HIT 7

HIT ENTER = MODE 7, AUTO TRIGGER (ALL VOICES

TRIGGERED SIMULTANEOUSLY)

HIT 8

HIT ENTER = MODE 8, FIRST TO LAST

HIT 9

HIT ENTER = MODE 9, FIRST TO LAST (LATCHED)

27

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THE OSCILLATORS

The 18 voltage-controlled oscillators of the Memorymoog produce the pitches you hear when

you play the keyboard. The control voltage output from the keyboard determines the oscillators'

pitch. Pitch is supplied by an oscillator when its waveform, a periodic fluctuation of voltage, is

translated by a speaker cone into a fluctuation of air, which we perceive as pitch. There are a num-

ber of things which can alter the speed or frequency of the oscillators: incoming control voltages

supplied by the keyboard, the FREQUENCY controls on the oscillators themselves (6.5 and 6.6),

voltage from the two PROGRAMMABLE FOOTPEDALS (4.0), the PITCH BEND WHEEL (2.2),

the LFO (5.0), the filter's CONTOUR GENERATOR (8.5), and the output of OSCILLATOR 3

when it's used as a modulation source in the VOICE MODULATION section (5.4).

As we explained in the introduction, each voice card holds three oscillators. There are six voice

cards for a total of 18 oscillators. Each of the oscillator panel controls for OSCILLATORS 1, 2, and

3 actually governs six oscillators. To avoid confusion when we refer to OSCILLATOR 1, OSCIL-

LATOR 2, and OSCILLATOR 3, we'll mean the set of six oscillators governed by each of those

groups of controls.

WAVESHAPE

Each oscillator generates three waveshapes: pulse , sawtooth , and triangle .

Each waveshape is a representation of fluctuations of voltage. These fluctuations produce different

sets of harmonics, thereby creating a different timbre of tone color. If you want to listen to how they

differ, set up this patch (start by pressing C, 9, ENTER on the NUMERIC KEYBOARD [3.3] to get

a live panel):

TO HEAR THE DIFFERENT WAVESHAPES . . .

HOLD DOWN A NOTE IN THE CENTER OF THE KEYBOARD. TURN ON EACH WAVESHAPE

SWITCH INDIVIDUALLY AND LISTEN TO THE EFFECT IT HAS ON THE TONE COLOR. TURN

THE PULSE WIDTH CONTROL WHEN YOU GET TO THE PULSE WAVE AND NOTICE HOW

CHANGING THE WIDTH OF THE PULSE WAVE AFFECTS ITS TONE.

memorymoog - rudi linhard · learning to use the system controller is the key to learning how to...

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